ENGLISH POETRYWeek 1-2

FREEWRITE

What do you already know about English poetry?

What sorts of themes do you associate with that term?

Can you name any English poets?

BRAINSTORMING Shakespeare Edgar Allan Poe – dark, gothic Romanticist

Trochees, throchaic octameter Frost, Dickinson, Mr. and Mrs. Browning Rhyme scheme – sound the same Riddle poems Free Verse – Unrhymed Iambic Pentameter Symbolism – where one thing stands for another Ballad – poem, lovey dovey, sad Epic – narrative poem, heroes, Odyssey, Beowulf Personification – inanimate objects have human

characteristics metaphor/simile – Comparing things, Similes use “like” or

“as” – He was a bear! vs. He was like a bear! C.W.

ENGLISH POETRY

As the country that spawned our language, it would be nice to have a foundational understanding of the people that have put it to its best use: the poets.

These are names I can personally guarantee you will hear, not only in your careers as students of language, but as consumers of culture, both pop- and American.

ROUGH OUTLINE Elizabethan

Spenser Shakespeare

Metaphysical John Donne

Satire Swift

Romantic Wordsworth Coleridge Shelley’s

“Ozymandias”

Victorian and after Alfred, Lord

Tennyson Browning &

Browning Carroll Kipling, IF

Modernism T.S. Eliot –

“Prufrock”, “Wasteland”

EP

IN ADDITION TO PLAYS…

Shakespeare was a master of the courtly sonnet.

What’s a sonnet, you ask?

WELCOME!

Please take your seat and title a new

heading in your notes The

Shakespearean Sonnet

THE SHAKESPEAREAN SONNET - #11. From fairest creatures we desire increase,2. That thereby beauty’s rose might never die.3. But as the riper should by time decease,4. His tender heir might bear his memory:5. But thou, contracted to thine own bright eyes,6. Feed'st thy light’s flame with self-substantial fuel,7. Making a famine where abundance lies,8. Thyself thy foe, to thy sweet self too cruel.9. Thou that art now the world’s fresh ornament10. And only herald to the gaudy spring,11. Within thine own bud buriest thy content12. And, tender churl, mak'st waste in niggarding.13. Pity the world, or else this glutton be,14. To eat the world’s due, by the grave and thee.

REFLECT:

1 minute: What jumped out at you? What do you remember? What did you feel?

Any personal connections, emotions, or beliefs that influenced your reaction? Memories?

What specific words, phrases or ideas elicit these feelings?

Now let’s notice some specific mechanics about this type of poem…

PARAPHRASING

1. pretty people should have more babies2. that way beauty can live forever3. over time even the beautiful will die4. so children can carry on their beauty5. But you, are obsessed with yourself6. you’re a narcissist7. you have the ability but aren’t using it8. you’re only hurting yourself9. You are currently the most beautiful10. And only hint at the ugly future11. You’re not concerned about the beauty of the future12. You’re hoarding the beauty13. Take pity on the world and share your beauty14. Otherwise you will eat it up as you age

THE SHAKESPEAREAN SONNET - #1 From fairest creatures we desire increase,

That thereby beauty’s rose might never die.But as the riper should by time decease,His tender heir might bear his memory:But thou, contracted to thine own bright eyes,Feed'st thy light’s flame with self-substantial fuel,Making a famine where abundance lies,Thyself thy foe, to thy sweet self too cruel.Thou that art now the world’s fresh ornamentAnd only herald to the gaudy spring,Within thine own bud buriest thy contentAnd, tender churl, mak'st waste in niggarding.Pity the world, or else this glutton be,To eat the world’s due, by the grave and thee.

ababbcbcdedeff

QUATRAINS AND COUPLETS

Quatrain – a distinct segment of a stanza or poem that

contains FOUR (quatro) lines

Couplet - a distinct segment of a stanza or poem that

contains TWO (a couple of) lines

4

2

THE SONNET-BALLAD   BY GWENDOLYN BROOKS

From fairest creatures we desire increase,That thereby beauty’s rose might never die.But as the riper should by time decease,His tender heir might bear his memory:But thou, contracted to thine own bright eyes,Feed'st thy light’s flame with self-substantial fuel,Making a famine where abundance lies,Thyself thy foe, to thy sweet self too cruel.Thou that art now the world’s fresh ornamentAnd only herald to the gaudy spring,Within thine own bud buriest thy contentAnd, tender churl, mak'st waste in niggarding.Pity the world, or else this glutton be,To eat the world’s due, by the grave and thee.

ababbcbcdedeaa

Q1

Q2

Q3

C

METER

What do we

notice?

WRITING A QUATRAIN Start by writing the four lines of stuff you want to say in

un-metered sentences.

EX: Music 1) listening 2) playing guitar 3) dancing

1) Music makes me feel great when I listen to it. I can listen to music all day and not get bored. It is like a soundtrack to my life. My life is like a music video!

2) Making music on my guitar is such a joy! Whatever is in my head or heart can be expressed through chords and melodies. Bands playing their own songs can be magical.

3) Letting the music affect your body can be wonderful! Dancing alone or with friends is always great. It connects you to the music you listen to.

FINDING THE STRESS

u / u / u / u / u /Your Mother has the best in mind for you.

u / u/ /Your big bright smile u / u / u / u / u /You would not be here if your mom had gone.

YOUR SONNETS

Please take the next ten minutes to compile your quatrains onto the handout from last week.

MULTIPLE CHOICE PRACTICE

Take the whole period to work on this packet.

Circle or underline any terms you don’t know.

Finish for homework.

NON-SHAKESPEAREAN SONNETS

For each1. Count the lines. Are there quatrains?

couplets?2. write out the rhyme scheme in letters after

each line.3. Count the beats in each line and find the

rhythm

HELLO!

Please take your seat and take out your copy of the John Donne poem passed out yesterday.

After a second read, what differences can you articulate between this poem and Shakespeare’s sonnets?

DONNE VS. SHAKESPEARE

Metaphysical - Highly intellectual poetry often focusing on a dramatic event, such as damnation, salvation, death, or love. Although such poetry can be highly emotional, it is often more argumentative in nature

ARGUING FOR DONNE

Choose one of the listed perspectives. Which is true of the speaker and audience?

Make your case in a few paragraphs. What key words or phrases let you know who is

speaking and to what purpose?

WELCOME!

Please finish your sonnets and put them all on the handout.

If no one has written the couplet at the end, the two lines that summarize, work together as a group to finish it.

Then, in your notes, title a new heading “English Romanticism”

ROMANTICISM =/= LOVEY DOVEY

ROMANTICISM VS _____________

Puritanism

People tired of rules, religion, society

Enlightenment

18th century (1700’s) characterized by science and reason

Things were being labeled and categorized, including poeple.

In America… In England…

ROMANTICISM

The Romantic era was characterized by a movement away from societal norms, and an inward focus on the self as part of a larger system.

Freedom

Ideals/Imagination/Intuition

Rejection of Rules

Emotion & Escape

ROMANTICISM

William WordsworthPublished Lyrical Ballads in 1798

with Samuel Taylor ColeridgeDefined what Romanticism wasMany examples in this traditionWordsworth described poetry as "the

spontaneous overflow of powerful emotions recollected in tranquility: it takes its origin from emotion recollected in tranquility."

HELLO!

Please take out your copies of Wordsworth’s “I Wandered Lonely as a Cloud” and be prepared to discuss when the bell rings.

SAMUEL TAYLOR COLERIDGE

Co-founder of the Romantic movement with Wordsworth

Tremendous influence on American Romanticism (Thoreau, Emerson)

Suffered from depression and anxiety (bipolar?) The treatment? Laudanum, a medical opiate, on

which he was chemically dependent much of his life.

1. Stops a guy2. wedding3. 4. Mariner starts his story5. Sun6. Party/Wedding7. Storm8. iceberg9. ice10. Bird11. followed them12. Shoots the bird

HELLO!

Please take out your copies of “Rime…” so that I may check for annotations.

While I do, take six minutes to choose any particular passage of the poem that you found interesting or exciting.

Please write in your notebooks why you felt this way.

Things to consider in your reflection: content: zombies, monsters, the supernatural technical detail: rhythm, rhyme, meter symbolism: weather, the cosmos, the albatross,

colors

REVIEW SHEET

WHERE’S THE FIRE?

Why is “Rime” in the Romantic tradition?Freedom

Open seas, away from constructs of civilization

Imaginativenot concrete, based on experience

The Naturalweather, the cosmos, animals, life/death

Liminality The place on the edge of a realm or between two realms. Oneiric realities.

HELLO! Please take out your copy of “Rime…” as well as the review

sheet. Part 1

3 grabbed him, skinny hand, glittering eye Cursed, shot the albatross, had to tell the story Sun; Male – Storm; Male

Part 2 Sun; male Thought the albatross was a good omen drop to drink around his neck

Part 3 Too dry Ghost ship, made of bones Women, dice-game died

Part IV scared die, drink, speak, PRAY Moon; female hoary flakes of elfish light sleep, pray Falls off and sinks

Part V Rain come back to life, man the ship Wind spirit penance more will do

Part VI spirits lighthouse, homeland seraphs Pilot, his son, hermit

Part VII Sank Pilot’s boat Free

SYMBOLISM IN “RIME” Symbolism: The practice of representing things by

means of symbols or of attributing symbolic meanings or significance to objects, events, or relationships.

Symbols or objects in a story or poem stand for something more meaningful

SYMBOLISM IN “RIME”

Weather What does it mean in “Rime”? What does it do? It gets worse, then better, then worse, then better.

Why? What significance is the weather to the Mariner?

The Sun, Moon, and Stars Are these religious symbols? Do they stand for the

gods? The Albatross

Is it better alive or dead? What does it mean? Religion

What does the Mariner’s entire tale teach him about organized religion, God, and prayer? How has he learned this?

HOMEWORK

Consider one of the symbols discussed in class (Weather, the cosmos, the albatross, or religion).

Briefly (2 or 3 paragraphs) trace this symbol throughout the poem and reflect on what it means.

Consider the questions: What is its connection to the fate of the Mariner?

How does this symbol affect his journey? Why is this connection important? What does Coleridge want us to “get” out of this

symbol?

WELCOME!

In your notes, please describe one of your most vivid dreams or nightmares, especially one that truly upset or perplexed you. Be sure to go into detail, using details to not only recreate this nocturnal vision, but also to explain your reaction to it.

COLERIDGE AND “KUBLA KHAN” Co-founder of English Romanticism with Wordsworth

Addicted to opium – like weed mixed with acid

Reading a Chinese travel book and fell asleep

Dreamt of Mongolian warlord Kubla Khan

Awoke and tried to write down his dream

Interrupted by business halfway through

Tried to finish later in same style

The author continued for about 3 hours in a profound sleep, at least of the external senses, during which time he has the most vivid confidence, that he could not have composed less than from two or three hundred lines … On waking he appeared to himself to have a distinct recollection of the whole and taking up his pen, ink, and paper, instantly and eagerly wrote the lines that are here preserved. At this moment he was unfortunately called out by a person on business from Porlock, and detained by him above an hour, and on his return to his room found, to his no small surprise and mortification, that though he still retained some vague and dim recollection of the general purport of the vision, yet, with the exception of some eight or ten scattered lines and images, all the rest had passed away like the images on the surfaces of a stream into which a stone has been cast, but alas! without the after restoration of the latter!

IMAGERYvivid, descriptive language that

appeals to one or more of the five senses (sight, hearing,

smell, taste, and touch).

A FEW MORE POETIC DEVICES consonance: repetition of a consonant sound found throughout a

sequence of nearby words

alliteration: repetition of a consonant sound at the beginnings of nearby words

On our own:1. Choose a speech sound (p, l, m, x/z, k/c)2. list as many words that contain that sound (not the letter, the

sound), at the beginning, the middle, or the end.3. string 10 of them together in ONE sentence

T: time, night, right, ting, tick, light, tickle, tilt, till, hurtAt night time the tick tickled a tilted light and hurt till it tinged just

right.

Read closely, looking for imagery

In pairs draw as many concrete visual images Coleridge

describes.

IMAGERY OF “KUBLA KHAN”

What is the greatest thing you have achieved in your life, thus far?

What would you like people to remember about you, generations from now?

What are the chances that this will come true?

YOUR GREATEST ACHIEVEMENT

OZYMANDIAS, AKA RAMSES II

HELLO!

Please take out your notebooks as well as your copy of Brownings “The Cry of the Children.”

Finish Reading

“CRY OF THE CHILDREN” ANIMALS - TPS

Take another look at the first stanza1. What is Browning saying about the status of

free animals vs. the urban poor?2. How does the landscape (setting) of the

animals compare with the landscape of the urban poor? Find quotations to support your answer.

3. What is her intent on the reader in this first stanza?

HELLO!

Please grab a copy of the Browning poems on the circular table and take your seat.

2ND PERIOD – BRITISH LIT

Read the poem aloud in your table groups in its entirety and answer the following questions in your notes

1. What is her intent on the reader in this first stanza?

2. Beginning in line 37, why might Alice be happy about how her life has changed? What does this say about children working at the time?

3. Why do the children refuse to be free and play in lines 57-64?

4. Do you think she changed things in England with this poem? Are there better ways to help those that need it?

ROBERT BROWNING

E.B. Browning’s husband master of the dramatic monologue in poetry Dramatic monologue: A composition in which

a speaker reveals his or her character during an important occurrence to a perceived listener or reader.

The is also often a disconnect between the passion of what is being said and the flippant way of how it is said.

https://www.youtube.com/watch?v=xFLW7HFGPb0&src_vid=Pbqzw3Il1dw&feature=iv&annotation_id=annotation_673333

COMPONENTS OF A DRAMATIC MONOLOGUE

1. a speaker (but not the poet) who addresses an individual present (but not the reader);

2. as the character speaks he or she unwittingly reveals usually unpleasant and nasty aspects of his or her character;

3. the reader becomes aware of the gap between the sweet words and the awful acts

THE DRAMATIC MONOLOGUE

Any text that tells a story from one person’s point of view

DRAMATIC MONOLOGUE “DOUBLE VISION”

Critic Daniel Karlin’s view of the way our reading of Browning’s dramatic monologues typically sees us go through two distinct stages in reading these poems.

 Firstly, says Karlin  The conventional reading of [Browning’s dramatic

monologues] takes these poems to be using the technique of the dramatic monologue as a means of ironically revealing the speakers’ warped passions and prejudices. When we first encounter these poems we see that they offer a critique of hatred…When we first encounter Browning’s speakers our first instinct is simply to condemn their atrocious behaviour.

 (Browning’s Hatreds, Daniel Karlin, pp.74-75, OUP, 1993)

DRAMATIC MONOLOGUE “DOUBLE VISION”

But then, claims Karlin, as we reread these poems  …We subject them to a kind of “double vision”. On a

rereading we tend to read the poems aesthetically (rather than simply morally)…As we reread we may be struck by the vitality, the intensity of the speakers’ artist-like visions, their vivid evocations of the sensuous loveliness of the world around them…These speakers’ may be decadent but they have a vitality of consciousness that sets them apart from their dull victims.

 (Browning’s Hatreds, Daniel Karlin, pp.74-75, OUP,

1993)

“PORPHYRIA’S LOVER”

To what extent is the speaker in this poem alive to “the sensuous loveliness of the world around” him?

Are there redeeming qualities in the speakers appreciation for love and beauty?

“MY LAST DUCHESS”

Read in small groups. First read for understanding Second for noticing of aesthetics (rhyme,

rhythm, word choice)

OUR OWN DRAMATIC MONOLOGUES As a class:

Step 1: Character 26 year old guy in a

club party animal gambler likes trouble

Step 2: Situation caught cheating out of money broke

Step 3: Audience bartender

Oh, man I’m in big trouble. I lost my house I lost my job, lost my family, and my life savings. I owe this club thousands and they told me never to come back. I’m desperate, if you can lend me $200 I can turn it around, I promise!

WELCOME!

Please grab a copy of the summary of the Victorian Age from the spinny chair.

MAIN IDEAS ARE…

Specific and Inclusive

Hunger Games 1 Katniss, a brave, loving sister, lives in a poor

district controlled by the capitol. Goes through fence Volunteers for sister Hunts for food

Alfred, Lord Tennyson (1809-1892) Victorian hallmarks:

Wanted order from changing times

Moralising (saying what is right and wrong)Social Justice

Self-indulgent melancholy/depression

Conflict of religion and science

Alfred Tennyson (1809-1892), chief representative of the

Victorian age succeeded Wordsworth as

Poet Laureate in 1850.Romantics influence in

imagery Classical/mythological

influence "The Lady of Shalott,” - Camelot "The Lotus-eaters" – Homer’s

Odyssey "Morte d'Arthur" – King Arthur "Ulysses" - Homer’s Odyssey

A number of phrases from Tennyson's work have become commonplaces of the English language, including: "Nature, red in tooth and claw", "'Tis better to have loved and lost / Than never

to have loved at all" "Theirs not to reason why, / Theirs but to do and

die", "My strength is as the strength of ten, / Because

my heart is pure", "Knowledge comes, but Wisdom lingers", "The old order changeth, yielding place to new".

THANKS WIKIPEDIA:

1. a) Crimean War, b) soldiers c) rising: going into the valley; falling: dead d) ambush, get shot, chaos, die, e) war and death; hardships of war; death and glory; bravery; loyalty; speaking up

2. Lets people understand soldiers. It encourages soldiers because it gives them honor after death. Glorifies bravery of soldiers

3. Loyalty4. Remember them as honorable5. Honor: They know it’s dangerous, still do it to

protect us, value of following orders1. Pity: could have saved lives

#1-6

The Light Brigade should be honored for what they did.

The Light Brigade should be honored.

Strongly Agree, Agree, Disagree, Strongly Disagree

VOTE WITH YOUR FEET

An argument for why a well-rounded education is important to my personal happiness.

http://www.youtube.com/watch?v=KP1s7o3oATA

There are jokes in every medium we absorb every day. To “get” these jokes, you need the same knowledge base as the writers who wrote them.

AN ARGUMENT

Pen name for Charles Lutwidge Dodgson His most famous writings are Alice's

Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the poems "The Hunting of the Snark" and "Jabberwocky", all examples of the genre of literary nonsense.

Queen Victoria herself was a fan of Alice

LEWIS CARROLL

Please grab a copy of “Jabberwocky”and in your notes, jot down

the main hallmarks of Victorian literature

we’ve been discussing.

HELLO!

"You seem very clever at explaining words, Sir", said Alice. "Would you kindly tell me the meaning of the poem 'Jabberwocky'?"

"Let's hear it", said Humpty Dumpty. "I can explain all the poems that ever were invented--and a good many that haven't been invented just yet."

This sounded very hopeful, so Alice repeated the first verse:

HUMPTY DUMPTY'S EXPLANATION

'Twas brillig, and the slithy tovesDid gyre and gimble in the wabe:All mimsy were the borogoves,And the mome raths outgrabe.

"That's enough to begin with", Humpty Dumpty interrupted: "there are plenty of hard words there. 'Brillig' means four o'clock in the afternoon--the time when you begin broiling things for dinner."

"That'll do very well", said Alice: "and 'slithy'?"

"Well, 'slithy' means 'lithe and slimy'. 'Lithe' is the same as 'active'. You see it's like a portmanteau--there are two meanings packed up into one word."

HUMPTY DUMPTY'S EXPLANATION

I see it now", Alice remarked thoughfully: "and what are 'toves'?"

"Well, 'toves' are something like badgers--they're something like lizards--and they're something like corkscrews."

"They must be very curious creatures."

"They are that", said Humpty Dumpty: "also they make their nests under sun-dials--also they live on cheese."

"And what's to 'gyre' and to 'gimble'?"

"To 'gyre' is to go round and round like a gyroscope. To 'gimble' is to make holes like a gimlet."

HUMPTY DUMPTY'S EXPLANATION

"And 'the wabe' is the grass plot round a sun-dial, I suppose?" said Alice, surprised at her own ingenuity.

"Of course it is. It's called 'wabe', you know, because it goes a long way before it, and a long way behind it--"

"And a long way beyond it on each side", Alice added.

"Exactly so. Well then, 'mimsy' is 'flimsy and miserable' (there's another portmanteau for you). And a 'borogove' is a thin shabby-looking bird with its feathers sticking out all round--something like a live mop."

HUMPTY DUMPTY'S EXPLANATION

"And then 'mome raths'?" said Alice. "If I'm not giving you too much trouble."

"Well a 'rath' is a sort of green pig, but 'mome' I'm not certain about. I think it's sort for 'from home'--meaning that they'd lost their way, you know."

"And what does 'outgrabe' mean?"

"Well, 'outgribing' is something between bellowing an whistling, with a kind of sneeze in the middle: however, you'll hear it done, maybe--down in the wood yonder--and when you've once heard it, you'll be quite content. Who's been repeating all that hard stuff to you?"

"I read it in a book", said Alice.

HUMPTY DUMPTY'S EXPLANATION

Can we still understand the poem without understanding every word? How is that?

JABBERWOCKY

WHEN YOU FINISH YOUR OWN DEFINITIONS

Describe how this poem, or your knowledge of Alice in Wonderland, fits or does not fit into our discussion of the hallmarks of Victorian literature.

Social Justice: Alice faces much discrimination and prejudice in Wonderland Class is VERY important

Struggle between religion and science The imagination blurs the boundaries between

we can and can not know The realities of Wonderland are skewed toward

the fantastic

CARROLL THE VICTORIAN

Rudyard Kipling born 1865 in Bombay, India

British Father ran an art schoolIndia until 6, then England.Bullied for five years in foster home

Deep psychological scars and a sense of betrayal.

RUDYARD KIPLING

The Jungle Book Collection of short stories and fables, using animals in an

anthropomorphic manner to give moral lessons. The verses of The Law of the Jungle, for example, lay down rules for the safety of individuals, families and communities. Kipling put in them nearly everything he knew or "heard or dreamed about the Indian jungle."

RUDYARD KIPLING

Hey man, you wanna do some “If”?

Please take your seats, take out your notes and start a

heading entitled:

“Subordinating Conjunctions”

HELLO!

Remember our conversation in Coordinating conjunctions?

[ind. clause] [FANBOYS] , [ind. clause]. What’s the rule? Comma after FANBOYS if

there are two independent clauses on either side.

So what’s a subordinating conjunction?

SUBORDINATING CONJUNCTIONS

Subordinating Conjunction: after, although, as if, because, before, even though, since, unless, until, once, when, while, and most importantly for this lesson, if

Subordinating conjunctions always introduce adverb clauses, something that modifies a verb, adjective, or adverb.

SUBORDINATING CONJUNCTIONS

Format: [ind. clause] [sub. conj.] [ind. clause] Notice, NO COMMA after a subordinating

conjunction, even though it has independent clauses on both sides.

• OR

[sub conj.] [ind. clause] , [ind. clause] Here is when you use a comma, usually in an

“if/then” sentence

SUBORDINATING CONJUNCTIONS

Examples:

[ind. clause] [sub. conj.] [ind. clause] I eat burgers because I get hungry. I brush my teeth before I go to bed.

[sub conj.] [ind. clause] , [ind. clause] Because I eat so many burgers, I am gaining weight. When I brush my teeth, I get a weird clicking sound in my

jaw.

SUBORDINATING CONJUNCTIONS

Notice all the subordinating conjunctions and the punctuation.

Circle every “if.” Can we summarize the traits a man must

have, according to Kipling (a very Victorian thing to do, btw, telling us how to behave)?

“IF-”

CREATE YOUR OWN “IF” POEM! Develop a career or kind of person you’d like to

become. Make sure it is a NOUN, you can add an adjective to it, if you’d like.

EX: Artist Chef Hairstylist Powerful CEO Fast Runner

Then, develop three adjectives that that person must be in order to become that thing.

EX: Artist: creative, dedicated, intelligent

CREATE YOUR OWN “IF” POEM!

Next, develop three things this person should learn to do well. Delivery guy:

Drive fast Avoid traffic Throw packages over fences

Then, develop three things this person should NOT do. Connect them to the last three if possible. Drive fast and not get pulled over Avoid traffic and never get stopped at red lights Throw packages over fences and never get

caught.

FINAL “IF” POEMS

You need: 6 adjectives to describe the person you

recommend becoming 6 activities to do 6 things to avoid being or doing

Format: Most sentences should look like the original

Kipling poem “If”: “If you can _________ without______,”

the last line should reveal who or what you recommend becoming: “Then you will be a great _________”

STUDENT EXAMPLESHow to Be a Child

by Katy, high school poet

If you can run through a park And not care about the scratches on your shins, If you’re still afraid of the dark But the monster under your bed never wins. If you can throw a huge fit And forget it the next day. If you can kick, squeal and hit But say sorry to the kid that cried and ran away.

If you’re still excited about a simple show And would wake up at 5 o’ clock in the morning

to see it. If you can make friends with people you don’t

know And become best friends and stay closely knit. If you can hold your little head up high, And be harshly judged but not care.

If you still play hopscotch and tidily-winks

With your shoes laces flopping and untied.

If you still think coming home at dark stinks

But you obey your mom and look on the bright side.

If you’re completely convinced Santa still exists

And you know the tooth fairy visits at least once a week.

If you think chocolate ice cream is bliss

And when you play tag, there is no technique.

If you scream at the sight of a bug,

Or you’re one of the others that find them fun.

If you feel better from just a simple hug

And your legs never hurt when you run.

If you can take everything one day at a time,

And not worry if the future will be challenging or wild.

If there’s no tree in the world you are afraid to climb,

You are indeed a free spirited child

Hairstylist

by Liane, ninth grade poet

If you like to sigh and smile and snip

As your shiny scissors go clip clip If you whistle as you make dye dip And cherish heads of hair, thin or

thick If your manicured nails can stroke But never strangle any split strand And have a room temp bottle of

Coke To grab in your left and unused

hand

If you can clone Halley Berry hair

On some woman with not much left

If you like to trim split ends with care

With precision very quick and deft

If your bubble gum will always pop

With a gleeful l click as you measure

If your heart leaps at every grey

And you know just what to make it brown

If a customer had a bad day

And you know to bring him up from down

And giggle and chirp and make fine talk

As you trim all her uneven locks

But most of all enjoy doing so-

Then you will be a hairstylist

Massage therapist: patience

If you have patience. work ethic, tirelessness

If you work tirelessly and have a good work ethic conversational

If you know how to have a good conversation. technique

If you know just what to do. make people feel better and healing them

If you can turn someone’s bad day into a brighter day. nimble hands, elbows, hot/cold rocks soothing music precision knowledge of anatomy optimism

Then you will be a fantastic massage therapist.

POSSIBLE FUTURES – PROFESSIONS AND CHARACTER TRAITS

WELCOME!

Please trace the evolution of British poetry that we’ve studied, so far.

Consider the hallmarks and reasons for shifts between Shakespeare The Age of Reason Romanticism Victorianism

Then, predict how World War I would change the way people thought about the world.

TAKE THREE MINUTES…

Briefly list (not complete sentences, fragments are perfect) whatever sounds you can remember from the beginning of today until now.

From shadows of sounds while sleeping, to getting ready at home, traveling to school, to actually being here, what are some distinct, and individualized sounds you’ve heard?

MY MORNING

A dog barks My tumbly rumblies Drip….drip………..drip Blathering on the radio The click of my car keys in the ignition Quiet footsteps on concrete Fingernails clicking on a keyboard A copy machine, zhhhh, zhhhh, zhhhh

THE FRAGMENT

Modernism in poetry is characterized by the

use of the fragment as a fundamental construction piece. On their own, and often together, a meaning may be hard to decipher. Often, the reader is left asking, “So what? What does this all mean?”

Making meaning from these seemingly disparate fragments is the fun and challenge in Modernist poetry.

WRITING AND THE RULES

Age of Enlightenment: Look at my new rules!!!!

Romanticism: No thanks, I’ll break some rules!!!

Victorianism:Things are gettingweird! Rules, please!

WWI

IMAGISM & FRAGMENTS

Little bits of different things, not a complete whole.

Departure from moral storytelling popular in Victorian.

Focus on clear images, sharp language, experimentation

IMAGISM & MODERNISM

Visual fragments

Ezra Pound. 1884 “In a Station of the Metro”

THE apparition of these faces in the crowd; Petals on a wet, black bough.

MODERNIST POETRY

Remember our pendulum?

Form/Reason Rejection/ImaginationAge of Enlightenment

Romanticism

Victorian Era

ModernismW.W.I.

MODERNISM – WHY?

The “alienation” of the artist emerges in full force, stemming from the indulgent depression of Victorian poets

Literacy rates up at the end of Victoria’s reign. Poetry back to the people.

Freud’s psychoanalysis changed understandings of rationality, consciousness, and identity.

WWI sparked a massive questioning or outright rejection of many rules and norms thought to be stable.

WILFRED OWEN

“Dulce et Decorum Est”

http://www.warpoetry.co.uk/owen1.html

MODERNISM AND T.S. ELIOT

Fragments of thoughts, sounds, images

Poets pessimistic: alienated, dissillusioned, angry

Unsure of what they mean

“THE LOVE SONG OF J. ALFRED PRUFROCK”

An animated reading!

ONE INTERPRETATION OF “THE LOVE SONG OF J. ALFRED PRUFROCK”  HTTP://WWW.NERC.COM/~TAM/PRUFROCK.HTML The Italian epigraph is from Dante’s Inferno.

One of the damned, asked to tell his tale, replies: “If I believed my answer were being given to someone who could ever return to the world, this flame (his voice) would shake no more. But since no one has ever returned alive from this depth, if what I hear is true, I will answer you without fear of disgrace.”

ONE INTERPRETATION OF “THE LOVE SONG OF J. ALFRED PRUFROCK”  HTTP://WWW.NERC.COM/~TAM/PRUFROCK.HTML “The Love Song of J. Alfred Prufrock” depicts the consciousness

of a single character, a timid, middle-aged man. Prufrock is talking or thinking to himself. The epigraph, a dramatic speech taken from Dante’s Inferno, provides a key to Prufrock’s nature. Like Dante’s character, Prufrock is in a “hell,” in this case the hell of his own feelings. For the first forty-eight lines of the poem, he contemplates the aimless pattern of his divided and solitary self. He is a lover, yet he is unable to bring himself to declare his love. He is both the “you and I” of line 1, pacing the city’s grimy streets on his lonely walk. He observes the foggy evening settling down on him. Growing more and more hesitant, he postpones the moment of his decision. Should a middle-aged man even think of making a proposal of love? “Do I dare / Disturb the universe?” he asks. In lines 49-110, Prufrock wrestles with his desire and his doubt. And, in lines 87-110, he imagines how foolish he would feel if he were to make his proposal only to discover that the woman had never thought of him as a possible lover; he imagines her brisk, cruel response: “That is not what I meant, at all.”

ONE INTERPRETATION OF “THE LOVE SONG OF J. ALFRED PRUFROCK”  HTTP://WWW.NERC.COM/~TAM/PRUFROCK.HTML Finally, in lines 111-131, Prufrock decides that he lacks

the will to make his declaration. “I am not Prince Hamlet,” he says; he will not, like Shakespeare’s character, attempt to shake off his doubts and “force the moment to its crisis.” He feels more like the aging, foolish Polonious, another character in Hamlet. He is able only to dream of romance. Thus, in the youthful fashion of the time (around 1910), he will have his trousers tripped with cuffs at the bottom. He will “walk upon the beach,” though he probably will not venture near the water. He has had a romantic vision of mermaids singing an enchanting song, but assumes that they will not sing to him. Prufrock is paralyzed, unable to act upon his impulses and desires. He will continue to live in a world of romantic daydreams—“the chambers of the sea”—until he is awakened by the “human voices” of real life in which he “drowns.”

PRUFROCK ANALYSIS WORKSHEET

1. Dude, to himself, imaginary women2. City, party, smoggy, smoky3. The sky is drugged, the streets are winding,

annoying, angering4. Party where he feels uncomfortable5. Cat or dog – rubs its back, muzzle, curls up6. Has lots of time but scared to take chances.7. Partying, chatting8. Terrified, overanalyzing, overcomplicating, awkward,

anxious9. Yeah, break out of shell, ask why, figure him out10. Insignificant life, just about coffee, worthless,

thoughtful planning, not really living, too much pressure

PRUFROCK ANALYSIS WORKSHEET

11.How should I presume? Unsure of continuing/trying, adds to anxiety/depressed/panicked/indecisive/frustrated

19.

POETIC RESEARCH/ANALYSIS

Objective: Further delve into a particular poetic movement

How we do it Research the influences on and influence of the

movement of your choice Search sources, provide citations, etc.

Analyze a NEW poem from that movement (I have suggestions, but yours are okay, too) Decide how it does/not fit into the hallmarks of that

movement Write it all out in 3-5 pages (< 3 pages will not

be accepted)

STEP BY STEP

1. Set up/share a Google doc2. Name the file

1. Click File->rename2. Last, First – British Poetry

3. Upper right, blue “Share” button4. Choose/Research a movement

1. Shakespeare, Victorian, Romantic, modernism, Age of Enlightenment, Renaissance stuff

5. Find THREE credible sources on the history of your movement

ELIOT’S “THE WASTE LAND”

On a first read: Pay attention to:

emotions expressed Meter and rhyme (hint: or lack thereof) objects

DO NOT read for: logical plot progressions understanding every word, phrase or stanza

Just try to pick out the FEELINGS he’s expressing

WELCOME!

Please take out your copy of Eliot’s “Waste Land” and any notes or annotations you took in your reading.

ALLUSION

a reference to something outside the text, such as a historical, literary, biblical, or mythical figure or event.

OBJECTIVE CORRELATIVE

An objective correlative - a symbolic article used to provide explicit, rather than implicit, access to such traditionally inexplicable concepts as emotion or color.

OBJECTIVE CORRELATIVE

Eliot used the term exclusively to refer to his claimed artistic mechanism whereby emotion is evoked in the audience:

“The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.”

WHAT DO YOU THINK?

The purpose of art is to mirror or mimic reality.

HELLO!

Please take out your copies of Swift’s “Modest

Proposal” and prepare for a FreeWrite

SWIFT

Which section that you came across last night was the most shocking to you? If you were not shocked, tell me what you felt as you were reading.

JONATHON SWIFT

Page 227 Famous for Gulliver’s Travels Enlightenment Era Satire – 1813 – a literary genre whose works

attack and ridicule human behavior people are usually shocked by his writing

People of misinterpret Gulliver’s Travels His satire addressed problems he saw in

society and culture More moderate than his writings suggested

Picked out extreme policies and ridiculed/defended them

HELLO!

Please take out your notes along with Swift’s “Modest Proposal” and prepare for a

Think-Pair-Share.

TPS

1. Why is the word “modest” used in the title of this proposition?

2. Irony – the opposite of what is expected3. What is significant about Swift’s use of “the

American” as “the other”?4. Let’s talk about the chart.5. King Lear Test Results

SATIRE

A literary work that ridicules its subject through the use of techniques such as exaggeration, reversal, incongruity, and/or parody in order to make a comment or criticism about it.

Examples:

WRITE YOUR OWN SATIRICAL SOLUTION

Do what Swift did: Notice a problem in your life, community, school, or society Propose a radical solution from a particular perspective

Use irony (opposite of what is expected) Hyperbole (exaggerated) Sarcasm (opposite of what you mean)

For Example: Problem (1par.): Poor student behavior Perspective: Administration Solution (1par.): Identical, bright-orange, full-body

jumpsuits with no zippers or draw-strings, and why not handcuffs, too? Clearly prison uniforms, but would serve a number of education-related purposes

Naysayers? (1par.): Final defense (1par.)